uts,

hazelnuts,etc.ofdetail.the

sutuousfeastinsideseen,butonlysuggestedbytheseleftoverstobe

throotherefuseheap.theionisthereforeeverything,onh

dependsverylargelythepoeticqualityoftheisshyhtportrayaland

italething

fortheigination

hadesepaintingreient,hophasisoion

oreatteroftheheadthanoftheheart,itruckablindalley,

forart,arilytoourfeelingsandoursenses,wouldhave

degeedintoatheti.noauntofteical

skillorcleveessofintellectualiongiveusgreatart,ifitfailstoachieve

anatsphereandevokeinusasyathetiotion.hisinallgreatpaintings,oodisthereforeeverything.the

draerelytosuggesttheabsenceofany

boatnnearby,andthatabsei,it

evokesinusaodofsolitudeanddesolatiodriftacross

bytheforurrentifitesaliveandfullof

aningtousonlyhattheboathavedriftedacrosslikethat

ifithadnotbeealone,andthisleadstoarefleonthedesolationofthe

seotions.ofavailisittopaintthesignofa

boogrovebythebridgeunlessagihe

peopleightbegatheredinthatehangsheavyandlifeis

atpeadnspendans

rheutisndthequeensgirlhoodronoodis

thereforeeverything,inpaintingasiry.thisleadsustoaionof

”atsphere,5othericvitality,”hehighestideal

ofesepaintingforthelastfourteenhundredyears,sincehsiehhofirst

enunciateditandotherpainterselaboratedanddiscussedandquarrelledoverit

forustreerthattheesepaintersdidnotereayofdetail.

sutungposaid:”ifoicizespaintingbyitsverisilitude,onesuanding

issilartothatofachild.”buttakingaereverisilitude,hasthe

paioofferus,afterall,isthepurposeofpaintingtheanshatthe

artistshouldousthespiritofthespathetic

odinrespohatisthehighestobjedidealofeseart.we

reerhoakesperiodiountainstorefreshhis

spiritiainairandulateddustofurban

thoughtsandsuburbanpassions.heoral

andspiritualelevation,andhebravestheselfinraintolistento

thethunderin

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